Dorsal headquarters:
A/C Carlos Lopes
Caixa Postal 33132/ Rio de Janeiro
RJ/ 22442-970/ Brazil

Have you got Orkut ?  Dorsal in Orkut

(published by Rock Brigade mag) Força Macabra showin' their weapons and the best of brazilian classic records. We barely can recognize 86's Antes Do Fim' cover behind the vocalist, but it's easy to find 85's Ultimatum' cover at its side. 
(Sept 2004) The finnish band Força Macabra re-recorded one of the best tunes from the first Dorsal album called Ultimatium, a split-LP released in1984. Their version is astonishing. It keeps the same furious approach in the real Dorsal tradition, without losing the historical perspective. The drum rolls, the bass lines, the solos (doubled as i did at the original recording) and the vocals reproducing all the grunts, screams and arghs are completely fabulous. If you got the chance to hear it, run and do it now. They really understang what Dorsal means. Much better than the brazilians.


NAPALM- (published by Roadie Crew mag) "They influenced not the brazilian scene only, but worldwide. They started somethig new and extreme, playin' good music, with a strong and powerfull attitude. There was no scene when they began and the other bands were influenced by them" Jesse Pintado - Napalm Death
     We were finishing high school in 1981 when we got the band NESS together - the first step to the forthcoming DORSAL ATLÂNTICA.  ACADÊMICO school was founded and maintained by military teachers in civil trousers during the dictatorship of the latter.  Cover songs from TED NUGENT, KISS and BLACK SABBATH were always around.  From that night on, we decided to move on and put the band together on a professional basis and we did the city clubs, still dominated by hippies and musicians that did not understand us because the appropriate audience for the yet to come DORSAL, had not even gathered around.
  Still in the beginning of the 80’s, I placed my finger on a page of the encyclopedia and DORSAL ATLÂNTICA was the lucky name, blindly chosen.  On my artistic trips, I was influenced by the idea of the dadaist movement and its name was chosen that same way.  In 1984 an old amplifier and a stamps collection were sold to finance our half of a split-album named ULTIMATUM that was released on the first day of ROCK’N’RIO festival - the biggest rock festival in the world ever - in 1985 with a 500 copies pressing.  No band from Rio de Janeiro had ever recorded and released a heavy metal album, and all over the country only three works had seen the light of the day - it was a time for the brave ones, surely.  We had the right to dream and turn our wishes into reality.  The ROCK’N’RIO festival stamped the name METALHEAD in all of the talking around this tropical country, blessed by GOD and beautiful for its natural resources, but exploited by politicians.  As for DORSAL it benefited from the facts and from the talking.  Rock radios and venues sprouted giving the necessary and the minimum structure to launch a scene, that always depends on people with similar tastes that wish to relate and get together.
   DORSAL was the first south American band to play real fast along with a kind of music and attitude which would only be understandable several years later - visionarism has its price.  Marcos ANIMAL, our third drummer and the first genuine heavy metal drummer, was a fan of the band and was invited to join the group and in less than one year the creature turned his back on the creator.  By the end of 85 necessary changes occurred and we had to leave the drummer behind because DORSAL had chosen to go ahead and take risks and Brazil voted for president indirectly - have you heard of this before?  It was a creative solution made by the militaries! - but the winner was killed at the hospital and the truth was masquered.  We were still living difficult years.
  1986 was the starting point for the recording of the first solo album through an independent label from São Paulo city - six hours from Rio - although it took São Paulo some time to understand our project of poetic lyrics, hardcore and long hairs.  Nobody takes intellectual headbangers for serious...  The LP was called ANTES DO FIM (Before The End), an album that officially sold 3.000 copies but according to people at the pressing manufactures the vinyl sold more than 10.000 that were not paid for, for the joy of those who owned the master-tape.  The album cover was censored by the producers and the recording was rushed because the same producers were broke - sad but true.  Concerts followed one after another, until we supported the circus-concert from VENOM, December 1986.  Carlos’ sentence of the same year:  “If being on the edge is where we are, then thanks God for we are on the edge”.
   DIVIDE & CONQUER, the second full-length LP and a new amateur label, recorded in 87 and released the following year.  Recorded with more time but with the same inexperience, the great step forward was much more lyrical and musical maturity.  The audience wanted us to play faster but the band itself wanted to develop and innovate.  Anthems like TORTURE and VIOLENCE IS REAL were showing the new path to follow.  A vicious scene and a reactionary movement was showing some cranking with a clear division between the more radical ones - the ones who were always right or at least screamed louder - and the people from the old  heavy rock.  Is history biting its own tail continuously?
   DIVIDE & CONQUER won a lot of placements amongst the bests of 88 in Rock Brigade mag and allowed the band to travel throughout the country, cheered by hundreds of people in places no band had gone before.  More concerts with international acts:  Nasty Savage from USA, Exhumer from Germany and  Motörhead.  Recognition was continually growing but money was not.  Proposals for releasing the records abroad were never taken further and the single released in Switzerland was homemade.  The band was self-managed back then.  The scene was still innocent but I know it is no excuse.  Time should tell.   Popularity and empty pockets brought an internal crisis that showed its face with the opera SEARCHING FOR THE LIGHT in 1990, when the first international crookedness was done, the album was released in USA by another amateur label and the royalties were never paid, resulting in more frustration.  The first world owing to the third, isn’t that funny?  The main concept of the opera was writing sci-fi  but showing up social injustice, in a book form-writing, no rhymes, outspokenly.  The album showed the consequences of so much misdirections in a possible future dominated by gambling kings, drug dealers from an insensible elite.  The real audience didn’t get it and the band floated in between intellectual trips hard to be understood.  It would be easy blaming people but the truth is that most of the public only cares about music (or something like that) and not for the lyrics and  the lesson was hardly learnt.
   The second drummer who recorded the first three albums left the band.  The time was passing by and the unity of the trio vanished in the haze.  The new decade was showing the claws, whatever came from abroad was the real thing and the curiosity over Brazilian bands cooled off and as we were trying to be professionals, we were smashed by an army of amateurism and corruption.  At that moment, Brazilian rock felt down but we survived with hard work and faith.  After one year of auditions, Guga was approved as the new drummer.
   Still promoting the opera SEARCHING FOR THE LIGHT we played together with the north-Americans of Testament and along with Kreator from Germany, but at the same year another Brazilian metal bands started to pay thousands of dollars to be scheduled as opening acts and the scene lost its innocence becoming a deceased mercantilism.  Since then all the promoters have been asking the bands for money and they are not ashamed to be a part of the game.  No opening band has the guts to confess that the underground is a lie because it’s made of silver and gold like everything else.  When we founded the band we never expected this shit would happen but the only attitude was raising our heads and kept on the right track.
   Two more albums were recorded at the first half decade of the 90’s:  MUSICAL GUIDE FROM THE STELLIUM in 92 which got the top prize at RAW magazine, and the second opera named ALEA JACTA EST, both albums part of the trilogy including SEARCHING.  MUSICAL was a progressive and mystical album with technical and faster riffs than ever and ALEA told the story of a black prophet who professed words of hope and was crucified by the authorities.  Many metalers disagreed with the subliminal message of the album and unhappily the poor-minds didn’t grasp that the most important thing in life is freedom and respect.  The DORSAL style was not so easy to fit it but the insistence on spreading the message placed the band at  highest degrees.  Latino MTV (Miami) had censored the promotional video for “Thy Kingdom Come”, from ALEA, blaming exposed nude breasts on video but the funny thing is that the breasts were from a transvestite.
   A tribute CD to DORSAL was issued in 1995 by another independent Brazilian label, strengthening us and making us believe in ourselves once more.  Thirteen new bands from all over the country recorded the first tribute launched for a band that’s still in activity.  Fan-clubs started to pop up throughout Brazil and a lot of people rediscovered the band.  Our ideals of freedom would not be wrong and we believed again in yourselves.  The band was ruining with the addiction of two important members:  the drummer and my brother the bass-player.  All forces were taken from inside my spirit to make me lead the pack again towards new directions.  It was sad when my brother quit  and left the band but a new manager encouraged me to recruit new musicians and start it all over again.  Rehearsing hard and adding the audience from the past with the new one, proving the music would still be relevant, the band prepared to a new step, recording abroad.
   STRAIGHT, from 1996, was recorded in England by Paul Johnston (Cathedral, Napalm Death), an European tour was scheduled but many gigs were cancelled by management mistakes.  Released with good support in Brazil, STRAIGHT showed an insane trio playing a new kind of hardcore with metal, surprising everybody in the country.  A campaign promoted by two Brazilian magazines for DORSAL to play at Brazilian Monsters Of Rock festival ‘97 reached the annoying number of 35.000 signatures - without the support of Cogumelo label which didn’t support the band this time, saying that it would lead to nowhere.  As Dorsal wasn’t scheduled and the band’s curse has power, the 1997 festival was cancelled.
   One more negative point of the year was Dorsal’s appearance at Madball concert with massive lack of organization.  Another line-up crisis (they wanted money’rhyme) motivated by the immaturity of the musicians almost led the ship to sinking but in the beginning of 1998 Alexandre Farias took control of the five string bass and finally the trio was included at 98’ MONSTERS OF ROCK together with Slayer, Megadeth, Saxon, Glen Hughes, and others.  Taking advantages of the good moment, the band recorded its live album called TERRORISM ALIVE.  The backstage of the whole festival was a fierce chapter.  A festival like this gives you two options:  either you finish your career because everything in Brazil is very amateur or you believe in Santa Claus, hoping on a better chance to play bigger venues with loads of cash.  Sorry but the second is only for fools.  The amount of Brazilian metal magazines do not correspond to the reality.  The scene is pure trade and fake.  There is no structure to play, only dreamers do.  We thought for the first time to tell everybody the truth, but how?  Ideas pop up and a possibility of releasing a biography of the band comes true and tell the people what it is like to make a living out of the underground, its happiness and sadness.
   January of 1999 was the month the trio saw the GUERRILHA! biography released by Beat Press in Brazil.  TERRORISM ALIVE released in August ‘99 captures the performances of the band to old songs with a new feeling, after seven studio albums.  We came across with the result we wanted:  aggressive and well documented in digital tape.  We suggested immediately to the record company Cogumelo, our last label, to divide equally, half by half, the royalties because we financed the master tape, but what we heard was:  “Give in the master tape with no charge and later on we give you a small percentage”.  What was left?  After all the budget invested and the decision not to have another label on our back, we finally pressed the stuff and founded our label which is called VARDA RECORDS.  At this point one comes to the conclusion that there is no need to have any bonds with a record company if they don’t give you enough support to distribute the CD.  After two decades of being fooled by stores and promoters we could do nothing, but we did, fighting for our dreams when everybody says no.  Be independent and take the right path.


   I’ve always believed that the big problem with the Brazilian scene (???) is the lack of reasonability.  People have heads in the first world but with the feet on the mud (a good reference) of the third world.  One of the ways out is to take it for granted and find our own ways to development, forgetting about these absurd patterns of the first world.  There are good things in every place, but tearing down our capabilities is the same as laughing at the future.  We don’t support terrorism but we are ready to stand up to fight for equal rights.  It’s a terrible fight between the truth and lies, what matters and what does not.  Conventional Terrorism deals with death penalty but we developed our method which means peace and ART.  Our music and our messages can be more destructive and more powerful than thousands of bombs because truth can blow everybody away.  Terrorism in fact is a bunch of uneducated people, letting them believe on the myth of the ignorant poor.  I am sure of what I’m talking about:  that’s why we care and therefore we are terrorists in a simple way;  we believe in love and in a better place to live and that can be considered as terrorism, depending on who is interpreting.  Rock doesn’t always have to have a mission or a social function but it’s nice when it happens.  I wasn’t born with a silverspoon on my mouth and I’ve always achieved everything with bravery.  I have nothing to fear.  That’s terrorism to anyone’s eyes.  I only need health and people like me to prove our statements.  Nothing more terrorist than feeding the starving and nothing more terrorist to blindness than spreading free culture.  Hail to freedom of expression.  Hail to responsibility.  Tear down the walls of racism and selfishness.

OLD BUT GOOD NEWS  (June 2001)

   Terrorism Alive album was voted as one of the best 1999 Brazilian records by the readers of Rock Brigade magazine.
  Below the surface things were going badly in a certain way.  Terrorism Alive’  promotional touring was OK but  2000 came on with a need:  getting time to rest.  I decided to expose my feelings concerning all the bad things who were pissing me off:  the trendy’ metal audience divided and alienated at two sides of the corner (black metal and traditional metal);  people being manipulated by the industry (press and the record labels united for their goodness) and the bad relationship inside our band (envy and mistrust).  It still hurts me very deep inside.  The big “three” was decisive to change my plans to record a new studio album, after Terrorism Alive.  Twenty years had passed by in a whisper and most of the bad things are still going on.  I decided to quit but after the break, we still got the time to record a rock and roll project called MUSTANG.  What would I say to people outside?  We’ve been living, working, loving and playing in different bands, no news.  It happens all day and night.  The future?  Nobody knows but our struggle will be remembered for years to come.  I am sure nobody will ever forget DORSAL ATLÂNTICA and its lesson to the scene.  I am proud of everything we’ve done.  Light, Peace and Love for you all.


Carlos Lopes interviewed by german Christian Wachter (2003):

1. To start with, could you please tell us more about those times back when you and your brother Claudio Lopes decided to found a band together? Why did you decide the group NESS first, and what were the reasons for you to drop this name in order to take over DORSAL ATLANTICA? What do these two words mean at all, is there a deeper meaning behind it that should reflect the band`s and musician`s attitude anyhow?

At the beginnig of the 80's that were no metallers or a real metal movement in Brazil, just a couple of correspondents around. Me and my brother had raised listening to any kind of rock and roll from The Beatles/Stones to UFO/Thin Lizzy but we were also in love with much heavier music that was around in US/Europe at that time. There were no supporters for a more heaviest style in our country back then, so we decided to form a band to spread the "how much we care for rock music" message, pushing it to the limits. People thought we were lunatics, simple as that. In South America only a very few fans and bands were writing and playing heavy music through the continent at the early 80's but nobody was playing speed stuff so took the chances by ourselves. That's how the band NESS begun (The first incarnation of DORSAL ATLANTICA) at a very important period of our lifes 'cause we were leaving high school, which simbolically should means (at least for us) we were losing our free will/independence to get a job and leave our dreams behind. DORSAL ATLANTICA was a verbet pointed randomly at an opened encyclopaedia. We needed a name to express searching for liberty and so we did it, found it in a free way form at any circusntances. That's what DORSAL ATLANTICA means: freedom of expression.

2. In the year 1982 you released your very first demo: Do you remember those recording sessions back then, where did you record and how did you experience this process? Did the tape have a name, and how did the public (the press, the labels as well as the fans) react when listening to this rebellious and aggressive style which must have been very new for many Brazilian Metal heads at that time?

  I was drunked and scared 'cause it was my first studio' session and i knew nothing about recording. My floor pedal was a 60's fuzzy and my brazilian 15 watts' amplifier had a horrible sound. It's the first lesson i've learned: to move on and not be beated by any difficulties, believing in me at any circunstance. I bought a very cheap bass to my brother and asked him to join the band and it worked it out! We were together for more than a decade but i can't recomend that strategy as a good one! For our first demo we had no money and it was very hard to get the budget, but we did it. To get things worse i did a lot of booze to encouraged me playing. I messed everything up. I quit recording a few hours later because i was so dizzy i couldn't play, i was doing everything wrong. When i started apologizing to my brother, the engineer came in and told us he had erased the whole tape by mistake and he offered us another session with no extra payment. That's how we started. A erased demo.

  At the very beginning people didn't understand us. Only a few years later, around 1984 there was a following and from that moment our name got bigger and stronger. What most people asked us at the first half of the 80's was why we were fast 'cause nobody was doing that. People love what is obvious. It's a shame. I was into punk and HC' stuff but also lovin' Maiden and N.W.O.B.H., so i asked to myself "Why we couldn't move a punk' metal outfit on, mixing all our likes and tastes together?" so we were the first south american band to mix hardcore and metal. It was total heresy back then. 

3. Did you play any live shows before the release of your first demo at all? If yes: Where and with which other groups did you stand on stage - I mean, back then there hasn`t been anything in Brazil around that can be called a "Metal scene", right? Rumours say that DORSAL ATLANTICA had been the very first Metal band of Brazil - is that right?

 As i told you there were no groups like us, only hippie-stuff and 70's classic heavy stuff. They were OK but we were reaching another level of heaviness and speediness and it's logical we were doing that on our own, alone. We did so many gigs as we could for free, to spread the message, in any place which had the balls to book us. At that time the bar's owners weren't booking a band for money which it's the today's agreemment. Rock bars weren't the best place to DORSAL, indeed. We were not the best band to be with when you wanted to drink some beers, doin' some dope or some conversation. 

 We had no good amplifiers, no drums and nobody would rent for us what we needed 'cause they were no Marshalls available in Brazil and we had no money! When we first "touched" and played in a real Marshall' amplifier we felt so happy we coudn't believe it! And it was a two speakers' 50 watts combo! Everythinng was so hard and the country was so distant from the world outside it's so hard to believe it nowadays. Raw heavy bands were coming up after DORSAL. We opened the doors.

4. Who released your debut album `Ultimatum` in 1984 at all? And who was this band called METALMORPHOSIS at all that was part of this split-LP? And who was responsible for the re-release in the year 2002?

We recorded and released the split-LP (our first) by ourselves splitting the expenses with our friends from METALMORPHOSIS. It was a real adventure back then, no doubts. I re-released our half along with a live 1998' DORSAL recording (1998's TERRORISM ALIVE CD) by my VARDA RECS label. A new brazilian label called DIES IRAE re-re-released the ULTIMATUM album in CD and LP' format for export in 2002 and it's doin' very well. DIES IRAE also released the ULTIMATUM OUTTAKES, also in CD/LP and another local Label called ENCORE RECS released at the same year a double outtakes and rarities' CD called PELAGODISCUS ATLANTICUS.

5. In the year 1986 you spawned your very first full-length upon mankind: Did you get aware of these overwhelming reactions world-wide or did you recognise yet later what a huge impact `Antes Do Fim` had on Brazilian Metal as well as the international brutal scene? Sometimes I think nowadays there are more people praising this album as compared to back then when everybody seemed to watch out for the hottest newcomers in Europe and the USA...

You are right, but every story has diverse angles to be analysed. I can't describe what that particular album meant to the local scene at that time. We took the country by assault, wearing so many leather, spikes, and real nails as we can. Our sound was raw, dirt and fast and so our looks. It was unbelievable. You should be here to watch by yourself what happenned when ANTES DO FIM was out. Nobody could believed it. Different cities, different reactions, but so we believed in ourselves. We lost our first following at our home-town RIO DE JANEIRO, friends mostly who had been shocked by our even more agreessive musical' choice, but they were quickly replaced by a new public who felt in love for our appearence and made us big, so big that we were invited to open a VENOM and canadian' EXCITER concert in front of thosands in December of the same year. The brazilian punk metal scene had born and we were fathers and mothers. The album was getting' more and more support during 1986, astonishing the conservative and rating local and international metal charts. At the VENOM concert i realized that the new followig was asking us for more speediness and agressiviness and i felt that we should not be ruled by anyone. It is the easiest way to be sucessfull, doing what people likes, fulfilling anyone's expectations but as an artist i believe it's the wrong path to take. At the same concert i decided to change, moving the band up to a new level. Remember i told you the name DORSAL should means free will and freedom of expression?  I choose freedom. Some people didn't wanted or liked our evolution, they really weren't in love for the band or for what we were inside but for they expected us to be.

6. What were the bands that inspired you back then - musically as well as lyrically as well as "image"-wise (chains, leather, nails etc...)?

As i told you we loved tradicional and some other heavy stuff like UFO, Judas Priest, Raven, The Rods, Spanish' Baron Rojo, French' Trust, Accept, but our image was strongly influenced by VENOM and some time after by SLAYER . Do you believe that the guitar-player from METALMORPHOSIS was the first guy in Brazil (or the only, who knows...) to buy the first VENOM single but he gave it to me because he didn't like it. I also was the first in the whole Rio de Janeiro' city to get the VENOM's Black Metal album in a bootleg tape made in Asia, or some place like this, i can't remember. Everything was so new and fresh. We took the "inspiration" basically from those bands, but we exagerated the idea to the limit!

7. How did you experience playing at the very big "Americana" festival back in `86? I mean, what were your impressions, did you really think you were on your way to be regarded as cult act eternally?

More than one thousand people, only from the underground scene i must say, shouted DORSAL! DORSAL! DORSAL! at our presence and received us as heroes, which can be easily proved 'cause it is registered on tape. "Americana" festival took place in Americana city which was founded in the 19t century by white North-Americans who had escaped from their civil war. That city belongs to the SÃO PAULO' state and in 1986 to be sincere people from outside SÃO PAULO capital supported us much more and better than the public from the capital which have more conservative tastes until today. The greatest brazilian underground bands and the newcomers participated together at the first indepedent brazilian underground festival at its peak. There was no competition between the bands at that year, we were all part of something bigger than us.

8. Could you please tell us something more about the tours back then? SEPULTURA often played as opening-act for you, is that right? 

Yep. The producers were fans who booked us through correspondannce, writing us letters, believe it or not. Some promoters even never gave us a call, it was a complete absurd, but it was magical. We were young and truly believers. It is easy to act this way when everybody acts inside a community. Things began changing when we all simply grewn up and some personal interestings broke up that unity. You can call me a dreamer to believe but only dreamers do and i believed strongly.

9. Did you stay in contact with other Brazilian cult acts of that time, like i.e. MUTILATOR, VULCANO, SARCOFAGO, CHAKAL, MX etc...? Did you support each other (concerning gigs for example), and were you in contact with any groups hailing from other countries or were you kinda "isolated" back then?

We used to play all together in many cities as possible.The oldest brazilian band together with Dorsal was Vulcano. The other bands came later. Through 1986/88 all the forementioned bands were playing together and we were all friends. It was like a family, in a good way. We admired and respected each other. We loved touring and living our metal living. The first heavy shows which happened in Brazil were Van Hallen and Kiss in the beginning of the ' 80s. Only in 1985 we had a chance to watch a great festival (Rock In Rio) presentin' Iron Maiden, Scorpions, Queen, Whitesnake, AC/DC etc. Our opening act for Venom in Brazil in 1986 was very dissapointed because they were no longer the Venom we used to idolized. It was kind of a shock. Venom' guitarrists had their arms wrapped up by many colored ribbons!  Sorry, you must forgive us 'cause we were just kids, hoping to see our bad-ass idols as a bunchh of bad guys, not human beings. Underground was made by us through worldwide correspondents. My hands had bleed writing tons of letters every day. 

10. `Dividir & Conquistar` kinda marked an end for an era for DORSAL ATLANTICA: Your lyrics concentrated more on real situations, problems (especially about living in Brazil), misbehaviour etc... 

Yeah. The reviews were great and the public reacted very well to the album, supporting our changing of musical direction even better than we thought . It was a hard step for us because `Dividir & Conquistar` was released after 'Antes do Fim', a breakthrough. `Dividir & Conquistar` had more complex riffs with more complex harmonies and lyrics, even with a screaming and almost "discursive" punk vocal. The attitude and the social problems' lyrics were coming from punk 'cause you must remember metal was only talking about dragons and castles. We were still playing fast but we were not playing to be the fastest but to be the best. We let other newcomers to do our job in a sense.

11. From 1988 on you decided to use the English language, but otherwise you used to tell about your emotions, your backgrounds, your problems much more detailled than on previous releases, when you sung in your mother tongue... Why did you leave the Portuguesean language behind in order to adapt English? Was it due to the fact that this was the ultimate speech for music world-wide, did you think you would be more accepted outside of your home country then? Don`t you think it`d be much more easier for you to tell about your feelings in your native language?

It was a need. We were receiving invitations to cast foreigers labels, without puttin' our feet outside the country and it's was a great development for a brazilian band. The gossips were all around, some people were talkin' about SPV, some from New Renaissance recs etc. I think our first adaptations from portuguese to english lose something in between, i guess.

12. Is it right to say that you were on the top of your career when WILD RAGS released `Searching For The Light`? Why did this label kick DORSAL ATLANTICA later on again? Was it due to the fact that you didn`t sell as many copies as they had wished? How did you get in contact with WILD RAGS at all?

Artistically yes 'cause `Searching For The Light` was our best as writers and creators of something new and innovative which international press nicknamed THRASH OPERA. The gig in RIO DE JANEIRO was covered by all great press and newspapers and almost one thousand people did stage-dives all the time (it is aldo recorded in VHS). Wild Rags signed us around 1989/90 but the L.A. label manager never gave us a call, only changin' faxes (there were no e-mails back then) asking me to call him to discuss the situation but the truth is that the label didn't promote our record enough, they really destroyed our dreams in a way. We felt very disillusioned. At the same time, a north-american band from the same label printed a add in all underground mags around the world  warning all bands to not trust in Wild Rags 'cause the owner Richard C. (the guy) was a cheater. When i read it i got astonished. After `Searching For The Light' we turned our batteries and forces almost only to Brazil.

13. During all those years you got more and more convinced to avoid any "pay-to-play"-politics of money-hungry tour managers, concert organisers etc...: Were you ripped-off by many corrupt people back then? Don`t you think this reaction of DORSAL ATLANTICA may have harmed the popularity of your group somehow? 

Until today i've payed none to anyone. Most of the band does, and it's a shame. It's not a simple competion and professionalism, it's corruption. The world gets worst and people gets smaller as individuals. I don't care no more if we'd lost ground for any reason. If you choose the evil ways you must hail to your god but i faced the battle face-to-face and i won because i am me, i am m only owner. I got wounded in the battle field but i survived and i am still goin'on, writing sonngs, playin' live, expressing myself through my new bands MUSTANG and USINA LE BLOND. That's it. If i was exploited by some mercennaries i moved up front and let them cheatin' others who are satisfied with all that shitty situuation. I did what i loved with all my heart and i never regret.

14. In 1992 you released the album `Musical Guide From Stellium`: The title sounds quite strange, would you please tell us something more about this?

Stellium is a planets' conjunction, when at least three planets enter in line, one after the other, which is a very special moment for any astrologist. It is a mystical' signature, has connections to the spiritual world, which i truly believe it. Better saying that i am aware of. A conjunction never happens exactly every day or every decade but can happen any time. I was born at a Stellium conjunction and by studying this i began to understand myself and the way i am.

15. What was the output that marked the beginning of all those Hardcore-influences in the sound of DORSAL ATLANTICA? I guess many old fans of the group had been kinda pissed off due to the fact that you melted these styles together... What do you personally think about people like this?

Watching Brazilian HC bands live at the early begining of the 80's i've learned in my heart that anyone can play in a band, that anyone can express the feelings and concepts through music. I love sincerity and honesty. I really respect people who works hard without lying and cheating. I don't care what people say or think because every human being has its individual patterns of awareness which can be worse or better. If anyone believe it's true, what could i do?

16. Were you influenced by Hardcore a very long time before or did you discover this kind of music for yourself back in those times ready to integrate this new element within the typical DORSAL-ATLANTICA-sound at once? Also Leon of APOCALYPTIC RAIDS is very fond of old raw and aggressive Hardcore, not these "happy" tunes, but more the powerful, brutal stuff like ANTI-CIMEX, DOOM, CRUDE SS, FEAR OF WAR, RATTUS, CRUEL MANIAX,BEDROVLERZ, ROVSVETT etc...

Exactly, DORSAL ATLÂNTICA was influenced strongly by the late 70's and early 80's punk scene, but the attitude was the most important: "DO IT YOURSELF". I don't listen to that stuff no more, but i liked it and enjoyed for a very long time. The first punk bands i heard were Sex Pistols, The Clash, Ramones, in the 70's but the HC scene only came in the beginning of the 80's through the first releases from Exploited and Discharged, which were so brutal that gave me some problems, really. The first exposure to Discharged gave me a headache and a weird feeling inside! I still remember the day! HC shocked anyone in the world, includin' myself and changin' everything. I was part of this for a very long time.

17. In the year 1996 there had been a DORSAL-ATLANTICA-tribute-album: Who was taking part, and did you like some versions of your own songs very well, and which covers didn`t you like at all?

Many new and old underground bands took part on the project. It made me sincerelly happy 'cause i was thinkin' about givin'up and it helped to get through and overcome the bad moods. All the bands who joined forces on the project and were involved with make me happy and that's enough.

18. Why did Claudio Lopes decide to leave the band at all? Did he leave due to personal reasons?

My brother Cláudio Lopes was tired of everything, tired of touring, tired of compromises, tired of being pushed and he has a drug-addiction which separated our ways, but after some years we get along to each other with no more judgements.

19. What was the CD `Terrorism Alive` all about at all, which songs were to be found on this album? 

`Terrorism Alive` shows songs from almost DORSAL ATLÂNTICA' albums played even faster than the original versions. It was recorded at the same year and month we did the brazilian MONSTERS OF ROCK festival with Saxon, Dream Theater, Megadeth, Slayer, Glen Hughes, Manowar and Savatage in front of 30 thousand people. After that show i decided to quit the band. It was done for me.

20. In the year 2001 the title of this album became reality: Actually I believe it has been reality long, long time before (in fact since that day men try to dominate other men), the happenings at September 11th had simply been so extremely huge that EVERYBODY recognised it (but forgetting about the reasons for those actions, forgetting all the badness in the world)... What do you think about my thesis?

Hundreds of Brazilian poor people dies every day of starvation, attacked by death squadrons and shot by police and nobody calls it a terrorist threat, but when a building is attacked by some retards it caused a war against an innocent people and not only against their leaders. Can a president lie and cheat telling the world he exaggerated about one of the reasons (maybe the serious one) he took serious to invade a poor country and nobody tells anything? What about the germans and french people who fight against the war and were considered almost US enemies? What about UNO? So many questions and no answers, no truth... The meaning behind the name `Terrorism Alive` is that i support the foundation of a Palestinian State, right now.

21. There are many people in South America that would like to support Al Quaida, and are thankful for the fact that these terror groups strike against the immensely mighty USA: What do you think about such kind of opinions, don`t you think those views are a bit too narrow-minded? The same goes out to the US government and their adventurous tale about the so-called "axis of evil" I believe...

I am against war, i'm against hatred, i am against violence, i am against narrow-minded notions. Yin and Yang is one.

22. Do you believe musicians may change anything with their words and sounds or is this nearly impossible? Should Metal music have a political message at all (I personally don`t think so)...?

Only people can change their minds. Musicians can help people to think, but if  DORSAL ATLÂNTICA used to talk about peace there's other bands who promotes racism and violence at the same time through the same music i love the most.The public elects their favourites...

23. Many people told me that DORSAL ATLANTICA would nowadays be a relict of the past, so to say that you`d prefer to play with your Rock N` Roll band MUSTANG instead: Is this true, can you tell us about the real situation of DORSAL nowadays? Have you yet released anything with MUSTANG at all?

As i told you i choose our gig at the brazilian MONSTERS OF ROCK in 1998 to be one of our last live gigs for so many reasons. We had recorded a CD outside the country (and the last of the originals) in England, named STRAIGHT, i had written a biography named GUERRILHA! and i thought it was the time to stop the pain that was hurting me inside very deeply. I couldn't describe all the motives without being incomplete but the most significant reason was that i was tired of everything and DORSAL was giving me no satisfaction that i needed and wanted to. The band became bigger, we did a lot for the scene, artistically and philosofically and i thought it was the exactly time to stop. 

Talking about my new bands, MUSTANG is a heavy-punk-psychedelic-rock-and-roll outfit and has two releases: the first was launched in 2002 (CD, LP and Picture Disc) and it's called ROCK AND ROLL JUNKFOOD released by Old School, Nice Lessons label (The same DIES IRAE' contact) and the newest from 2003 is called OXYMORO. A Live MUSTANG VHS is also on the market. My other band called USINA LE BLOND is a kinda of Funkadelic, Sly and Family Stone, Hendrix stuff. Both are trios influennced by muusic from the 60's and 70's, my favourite. USINA LE BLOND released 3 CDs, the last is comin' on until the end of 2003 by an independent label.

24. Do you know what the rest of the DORSAL-guys do nowadays? Have they retired from music business or does any of them have any projects/bands still going?

No, i do not know anything.

25. Your lyrics dealt with diseases (`H.I.V.`), the Templar`s legacy (`Heretic (Jacques De Molay)`), racial problems (`Racial Patterns`), alcohol addiction (`Àlcool`), the national socialism and its cruelness (`Joseph Mengele`), committing suicide (`Depressao Suicida`) and so on... You even wrote a song about a Russian myth (`Kali Yuga (From Vishnu Purana)`): From where do you get your inspirations? 

From day-to-day life, from the books i read, from the movies i watched and from the conclusions i reached after analysing facts in life.

26. Are there any books that impressed you very much concerning your lyrics? Could we say that you refused to use the well-known, cliché-driven phrases and patterns all the other groups around used?

I love history, and love watching TV' docummentaries and learning more and more. I am, i am me, I aman artist and i am free. I don't care about being the same, or promoting the same old stuff. I accepted no rules from men. That's the dark side of any so-called movement, when only few guys or some press' people tells you what's right or wrong.

27. Could you imagine to come back with DORSAL ATLANTICA some day, perhaps for some single gigs where you just play old songs from the 80s? I mean, CHAKAL and VULCANO play are back again, perhaps this is a sign for you to start off...?!?

Never. I only think about my present. Past gone and future is ahead. No brazilian underground band became so popular and gone so far without losing the integrity as DORSAL. Our work is done, the times they are changing, we must evolute to become better human beings and not living forever in the past. We must to be ready to love now, we must find the truth now and we must learn to forgive and forget. 

28. What do you think has changed during all those years in the Brazilian Metal underground? I guess the fans and also the musicians got more and more driven by trends compared to the past, right?

I don't analyse what's goin' on because i am not involved in the metal scene no more, but i confess i made my own analysis of the situation and what i can say is that people is people, doing right or wrong, taking the same old paths or reaching new ones 'cause it's the human' condition, learning by mistakes. The same mistakes of the past are always the new ones, round and round. Nobody believes it would happen again but it happens all the time because there so many bad people with bad purposes in this world that's it's almost impossible to not see how human decisions are influenced by ego or by fear, "the two towers". If you can't fall through fear, surelly you'll let down by your own ego, which's enough to make it happen.

29. Do you have got any future plans or do you prefer to let destiny play with you and your life? Do you believe man can influence his/her own destiny, his/her own way of life?

I am the ruler of my destiny. I believe in God but i don't believe in men. Reaching a better consciousiness makes yourself a better human being connected to anything as good as possible..

30. Alright, thanks for this interview! Just feel free to add anything I forgot to ask! Any last greetings left for the European DORSAL-ATLANTICA-maniax? 

Thanks for reading me. I hope our music still can helps you out to be a better person and hoping not to increase what's worst and ugly in this world: liar, drugs, exploitation and sex with no love (that's a good one). 

  1. First gig, the band's first monicker was NESS. 



    Line-up: Carlos Lopes (guitar e vocal), Cláudio Lopes (bass) and Roberto Moura (drums).

  3. First Dorsal Atlântica demo: "Ela não acaba assim" and "Guerra". 
Line up : Carlos Lopes (vocals e guitar), Cláudio Lopes (bass) and Marcelo Farias (drums).

1984  Recording of Ultimatum, split-album w/ Metalmorfhose band, only released in 1985.

Songs : Império de Satã, Catástrofe, Armagedon, Princesa do Prazer e Heavy Metal. The band produced the first clip: "Princesa do Prazer".

Line up : Carlos Vândalo (vocal e guitar), Cláudio Cromagnon (bass) and Marcos Animal (drums). 

  1. The first album Antes do Fim, is recorded in 3 sessions. The first south-american LP who had the guts to mix metal with hardcore/punk. 
Songs: Caçador da Noite, HTLV-3, Álcool, Depressão Suicida, Vorkuta, Joseph Mengele, Guerrilha, Inveja, Morte aos Falsos.

Line up : Carlos Vândalo (guitar e vocal), Cláudio Cro-magnon (bass) e Hardcore (drums).

  1. "Dividir & Conquistar" is recorded during October, November e December. The complete album is released in 88. Songs (from the brazilian version) : Tortura, Vitória, Violência é Real, Metal Desunido, Morador das Ruas, Lucrécia Bórgia, Velhice, Preso ao Passado. 
  2. A version in english of the same album is released. The name is "Cheap Tapes from Divide & Conquer"
Songs : "Desunited Metal", "Victory", "Dweller of the Streets", "Lucrecia Borgia", "Violence is Real". 

The single "Victory" & "Dweller of the Streets" is released in Switzerland by "Flight 19 Records".

1989  The Thrash Opera "Searching for the Light" is recorded. The first of three conceptual albums.

Songs :"Hierarchic Democracy", "Fighting in Gangs", "Misery Spreds", "Not to leave the Power", "Only One of Them ( must be left), "Gathered Prisoners", "Childish Boots and Steps", "The Ones Left Screaming", "History Starts ( to take a route )". 

Line up : Carlos Vândalo (guitar e vocal), Cláudio Cro-magnon (bass) e Hardcore e Guga (drums - not recorded the album).

1990  "Searching for the Light" is released in US by LA's Wild Rags.

  1.  demo recorded in september w/ the songs: "Prison Cell Stage", "The Hidden & Unexpected", "My Generation" e "Seven Races" and "My Generation". 
  2.  "Musical Guide From Stellium" is recorded.  Songs : "Razor’s Edge", "Recycle Yourself", "The Hidden and Unexpected", "Kali Yuga ( from Vishnu Purana )","The Seven Races","Rock is Dead", "Warrior", and "My Generation". CD' bonus tracks only : "Prison Cell Stage" and "Thy Will be Done" (sang in 4 languages).
1994 "Alea Jacta Est" is recorded. The last of three "operas"and one of the most famous. Tha lyrics delas w/ racism and intolerance telling the story of a black man crucified like Christ. Songs : "Thy Kingdom Come", "Give People a Chance", "R.I.P ( Racism, Ignorance, Prejudice )", "Straitgate", "Raise The Dead", "Human Rights", "Virtual Reality", "Last Act", "Black Messiah", "Loyal Legion of the Admirers", "Take Time". CD bonus-tracks: "Tribute to Gauguin" and "Summary Condemnation". 

Video-Clip from the song "Thy Kingdom Come" is censored in USA, but the clips from "Loyal Legion Of The Admirers" and "Take Time" had an intense air-playing in Brazil.

1995 In December the band recorded the pre-production of the upcoming "Straight" album in Rio de Janeiro. Songs : "6.45", Sign of the Times, God Complex, Rapist, Straight, Who the Fuck do you think you are, Dor, All the Women ( I’ve loved ), Black Mud, Carniceria, H.I.V., Extreme Conditions, Corporate Discrimination, Madness, Seasons of Decay, Walls, Bollocks, Blood Pact, In Line, Heretic ( Jacques de Molay ), Mothers of Tomorrow, Racial Patterns, Sucess and Fall, and the never released tracks (until 2002' Pelagodiscus Atlanticus CD) :"Cold Melancholy" & "Legend"

1996  The trio fly to Europe to record "Straight" album in England with Paul Johnston as the producer (Cathedral, Napalm Death). The brazilian tribute CD "Omnisciens" is released by "Rock Shop" label w/ 13 new bands from all over the country covering Dorsal' classics. 

Songs and Bands :

"Álcool" (Headhunter D. C.), "Princesa do Prazer" (Avalon), "Guerrilha" (Restless), "Violência é Real" (Insanity), "Fighting in Gangs" (Decomposed God), "Caçador da Noite" (Endoparasites), "Tortura" (Mystical Vision), "Joseph Mengele" (Genocídio), "Presos Comuns Amontoados Como Animais" (The band Outsiders sang in portuguese "Gathered Prisoners" ), "Raise the Dead" (No Return), "Razor’s Edge" (G. S. Truds), "Thy Kingdom Come" (Tumulto), "Vitória" (Jack Daniel’s Incorporation).

At the end of the year "Straight" is released in Brazil. Last studio album recorded by the band. 

Songs : "6.45", Sign of the Times, God Complex, Rapist, Straight, Who the Fuck do you think you are, Dor, All the Women ( I’ve loved ), Black Mud, Carniceria, H.I.V., Extreme Conditions, Corporate Discrimination, Madness, Seasons of Decay, Walls, Bollocks, Blood Pact, In Line, Heretic (Jacques de Molay), Mothers of Tomorrow, Racial Patterns, Sucess and Fall.

Line-up : Carlos Lopes (vocal e guitar), Ângelo Arede (bass) e Guga (drums).

1997  The band recorded  a live video clip for "All the Women".

"Straight" distributed in Argentine by "Nems Enterprises". 

The albums "Dividir E Conquistar" and "Searching For The Light" were released (CD) by Heavy Records.

1998  "Straight" released in Germany by Rawk Records. 

Recording of a new demo. Songs : "Psychic", "Molested", "Maya", "Deranged Children", "X-Files", "You Are What You Vibe", "Acid-Test", "Global Village". Dorsal recorded a live gig in one take for a live album. The band is requested to  join the brazilian Monsters Of Rock festival cast because the production received the amount of 35.000 signatures asking for the band's inclusion.

Line Up : Carlos Lopes (vocals e guitar), Alexandre Farias (bass) e Guga (drums)

1999  The live CD TERRORISM ALIVE is released by Varda Recs. The biografy "Guerrilha!"  written by Carlos Lopes is published by Beat Press.


1) Sign Of The Times (live)

2) God's Complex (live)

3) Rapist (live)

4) Who The Fuck Do You Think You Are (live)

5) Dor (live)

6) All The Women(I've Loved) - (live)

7) Black Mud (live)

8) Velhice (live)

9) The Ones Left Screaming (live)

10) H.I.V. (live)

11) Madness (live)

12) Blood Pact (live)

13) Caçador da Noite (live)

14) Thy Kingdom Come (live)

15) Take Time (live)

16) Tortura (live)

17) Guerrilha (live)

Bônus Ultimatum album: 

18) Império de Satã 

19) Catástrofe 

20) Armagedon 

21) Princesa do Prazer 

22) Heavy Metal 

23) Morte Aos Falsos (live 1985)

2001  The band came to the end, 20 years after the foundation. Some best of' CDs and collectables are still being released until today.


1) Catástrofe (live) – 1985

2) Armagedon (live) – 1985

3) Princesa Do Prazer (live) – 1985

4) Dorsal Atlântica (live) – 1984

5) Hecatombe – rehearsal – 1984/5 (?)

6) Periferia (live boootleg) – 1985

7) Rádio Italiana – 1986 (?)

8) Morte aos Falsos (rehearsal) – 1984/5 (?)

9) Tortura (ensaio) – 1984/5 (?)

10) Catástrofe (ao vivo) – 1984

11) Princesa do Prazer (live) – 1984

12) Catástrofe (live) – 1984

13) Abandono o Seu dEUS - 1984

14) Princesa do Prazer (live) – 1984

15) Armagedon (live) – 1984

16) Morte Aos Falsos (live) – 1985


1) Catástrofe (live) – 1985

2) Armagedon (live) – 1985

3) Princesa do Prazer (live) – 1985

4) Dorsal Atlântica (live) – 1984

5) Morte Aos Falsos (live) – 1985

6) Hecatombe (rehearsal) – 1984/5?

7) Catástrofe (live)– 1984

8) Princesa Do Prazer (live) – 1984


1) Cavaleiro Negro (Metalmorphose) 

2) Nosso Futuro (Metalmorphose)

3) Hárpya (Metalmorphose)

4) Complexo Urbano (Metalmorphose)

5) Desejo Imortal (Metalmorphose)

6) Império de Satã (Dorsal Atlântica) 

7) Catástrofe (Dorsal Atlântica)

8) Armagedon (Dorsal Atlântica)

9) Princesa do Prazer (Dorsal Atlântica)

10) Heavy Metal (Dorsal Atlântica)

PELAGODISCUS ATLANTICUS – The Old, The Rare, The New – (CD duplo) ENCORE Records - 2002

CD 1: 

1) Princesa do Prazer (studio mix) - 1984

2) Abandono o Seu dEUS (live) - 1985

3) Ela Não Acaba Assim (demo) - 1982

4) Guerra (demo) - 1982

5) Caçador da Noite (live) - 1986

6) HTLV-3 (ao vivo) - 1986

7) Joseph Mengele (live) - 1986

8) Tortura (live) - 1997

9) Guerrilha (live) - 1997

10) Rádio australiana - 1987/88 (?)

11) Lucrécia Bórgia (rehersal) - 1987

12) Desunited Metal (rehearsal) - 1987

13) Hierarchic Democracy (live) - 1989

14) Childish Boots And Steps (studio) - 1989

15) The Hidden And Unexpected (demo) - 1991

16) Seven Races (demo) – 1991

CD 2:

1) Velhice (studio mix) – 1987

2) Take Time (live) – 1998

3) Straitgate (rehearsal) – (?)

4) Black Messiah/Loyal Legion Of The Admirers (rehearsal) – (?)

5) Cold Melancholy (demo) – 1995

6) Who The Fuck Do You Think You Are (live) – 1997

7) In Line (live) – 1997

8) Heretic (live) – 1997

9) Mothers Of Tomorrow (demo) – 1995

10) Walls (demo) – 1995

11) Crianças Em Extinção (demo) – 1998

12) Psychic (demo) – 1998

13) Molested (demo) – 1998

14) X-Files (demo) – 1998

15) Global Village (demo) – 1998

16) Psychic Remix (demo) – 1998